DOCSLIB.ORG

Do Not Speak Until Spoken to (Or Even Then Sometimes)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Do Not Speak Until Spoken to (Or Even Then Sometimes) DO NOT SPEAK UNTIL SPOKEN TO (OR EVEN THEN SOMETIMES) The seeds are with us and give us shapes and forms at no point does everything start new We would have nothing to eat and neither would they have us to eat The seeds begin what is carried on Our seeds are still with us and talk to us and pace us if we listen The voice they use is very like our own but is not us or ours you can never tell even by sticking around if they wi 11 s}Jeak that they have spoken you can never tell don't expect me to ,m, 2 KRAB PROGRAM GUIDE Nm1BER TWO HUNDRED AND TWENTY TIlREE Published by the ~ack Straw Memorial Foundation, a non-profit, tax- exempt, pub lic organi­ zation solely desIgned to operate non-commercial, listener-supported radio stations, of which KRAB is one, and KBOO (Portland) the other. This program guide, containing program listings for the month of February , 1972, is not sold, it is given, free of charge, t o the s ubscribers and supporters of KRAB. We empha­ size the fact that those w~o subscribe aren't paying for the program guide, but paying for KRAB. We are not publIshers, after all, but broadcasters , and we need the continued financial (and spiritual) support of the community if we are going to continue on the air. SUbSCliption rates to KRAB are essentially whatever you want to give, be it five cents or five million'big ones. We do set subscription rates, however, mostly because people seem to want them. The average yearly subscription is $25 , payable in one hunk, or a bit at a time. The minimum yearly rate IS $15, or $5 every four months. Any contribution is tax deductible, and as a bonus for the subscription to KRAB you receive a program guide' each month, just like this one, that natters on about money when what you really want to know is what's on Thursday. KRAB f. m. 9029 Roosevelt Way N.E. Seattle, Washington 98115 LA 2-5111 20,000 Watts, e.r.p. 10 7.7 dial-wi se KRAB is an affiliate of the KRAB Nebula Network, National Public Radio, and the Interna­ tio r.~~ /»let aphysical Cartel. If yo ur name is circled in red on the back cover of this guide, it means your sub;;crip­ tion has expired, and unless that old renewal arrives soon, the March program guide wi ll not be sent to you. We hope you'll renew your subscription, because right now, KRAB is beginning the biggest period of expansion in its history, both in terms of pro­ gramming, production and facilities. This major expansion is costly but essential to the futur e well-being of KRAB. We need, and will continue to need the support of our current subscribers and all those who will learn of the station in the futurp.. Please s tay with us , and we hope to make your continued interest and support worthwhile . PLANNING ON MOV ING? Well, have a dandy time, but before you go, let us know your change of address so our cr ew of trained thieves can em?ty out your house while every­ thing is still in cardboard boxes. Seriously though, if you let us know when yo u're mo ving and whe re you're going, I,e can make sure those kindly government employees at the post office don't throw your guide away but spirit it out to the correct new lo­ cation. If they tell you they will just naturally forward all your mail, THEY ARE LYING. Y0U have to let us know so we can change your address card. AND, if you're moving out of the sandy hills of the KRAB coverage area, you might wish to have your subscription changed to the listener-supported (or almost) in your new homeland . Thus, if you're going to any of the following areas, let us know. Portland, San Francisco, Los Gatos, San Jose, Houston, St. Louis, New York City, or Yaller Springs, Ohio. .. The other day , as the morning repeat crew was chopping Phil Munger from the microphone wi th an ice ax, someone remarked that it wou ld be nice if I,e had another electric heat­ er or t wo. Our converted doughnut shop of a radio station hasn't had central heating since they removed the deep fat fryer, you see, and thus it occasionally gets a bit nippy in the station. The occasions when this happens are generally the months of October through April. If you have a heater around that you're not using, there are some mighty chilly fol ks up at KRAB that would love getting toasty again. 3 JACK STRAW MEMORIAL FOUNDATION BOARD OF TRUSTEES, MONTHLY MEETING 1-8-72 (As a subscriber or supporter of KRAB, you are a member of the Jack Straw ~1emorial Foundation, the non-profit organization that owns KRAB and KBOO. In an effort t o make the Foundation members more aware of the doings of their elected board, we hope to publish in each monthly program guide highlights of the past board meeting. These no tes con cerning board meetings are not meant to serve as minutes of the meeting, but. merely as a general synopsis of what occured. The board meeting reported below lasted over four hours , so naturally much more was said than is reported here. Information from the meetings is deliberately omitted only when the Board i s called into executive session or the material is routine .) Trustees present were Byron Coney, Mike Duffy, Bob Friede , He len Norton , Nancy Keith, Gary Margason , Ben Dawson, Steve Mena~ian and Greg Palmer. After some discussion, the Board voted to reject the proposal of a local commercial broadcaster to produce a daily news program on KRAB as an experiment prior to future broadcast on a commercial outlet. The Board moved, on reccomendation from the KRAB managt!r, that all National Public Radio live feeds, if broadcast live, be put on some k:nd of tape-delay basis for au­ dition purposes, until NPR c larifies their standards regarding suitability of mater­ ial for broadcast. This came as a result of the live coverage of the Philadelphia convention of the American Association for the Advancement of Science, carried Decem­ ber 26 through December 30. Also in regard to the broadcast of that convention, the KRAB manager was instructed to wri te NPR programming offi ci als commending the network for carrying the programs, but strongly objecting to aspects of the coverage, i.e., repeated interruptions by the reporters, station breaks where not requi red, tinny electronic music, etc. Some of the letters from KRAB listeners stating these objections will be quoted. The majority of the board meeting concerned proposed changes in the by-laws of the Foundation. Mos t changes centered on the e lection procedures, by which three board members are e l ect ed t o a three year term annually by the general Foundation. Some of the proposals are: 1. Res tricting station staff members from serving on the Board. 2. Terminating elections entirely and returning to the previous system of a sel f ­ perpetuating board (or equival ent) 3 . El ecting Board members to represent various 'constituents; i .e., a member, or members elected only by the staff and volunteers of each station; a member, or mem­ bers elected solely by the subscribers to each station, etc. The number of Board members elected in this way , and the method of determining other members of the Board, 'vas not determined. With the next general election scheduled for this March, it was felt that any re­ vi sions in election procedures must be made at the next board meeting, in February . Because this is an important issue , affecting the general membership of the Foundation, it was felt that the general membership shoul d be invited to attend that meeting i f they wish , and express their thoughts on this issue. No tice will be given in both the KRAB and KBOO program guides as to the time and p l ace of the meeting (see below). Finally, it was generally fe It that the past method of informing the voters as to the qualifications and ideas of nominees for the Board left a great deallto be desired. Suggestions to correct this included having nominees do commentaries, sending out longer or at least more involved statements from the nominees with the ballots. 111e next meeting of the BOARD OF TRUSTEES OF THE JACK STRAW MEMORIAL FOUNDATION WILL BE HELD SATURDAY, FEBRUARY 12, AT 9 :30 A.M. AT THE HOME OF BEN DAWSON, 4319 THACKERAY PLA CE N.E. llecause we have no idea how many are p lanning on attending this me eting, wo uld those who are i-lease contact Greg Palmer at KRAB, just in case the number is so large a more accomodati ng meeting place must be found. 4 There once was a rabbit of particularly rakish cast; his tail was lush, round and colorless clear to the roots , his ears the purest pink to windward, the brightest white to leeward. His fine, soft coat was made ever more astonishing by the red and gold highlights a ccentuating his lithe, supple form. As if such features were not enonph, his face was perfection itself, combining the devilishly quizzical nature of his bright pink eyes (they glowed in the dark) with the strong, sugar-cube presence of his buck teeth, topped by extremely long .
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Kerstin Meyer (1928-2020)
    In memoriam: Kerstin Meyer (1928-2020) Kerstin Meyer var en av de spännande unga sångare som inledde en internationell karriär i Stockholm i början av 50-talet. En påfallande vacker kvinna och en utomordentlig musiker blev hon snart en remarkabel musikdramatisk artist på världens operascener. Meyer erövrade en stor och mångskiftande repertoar från barockopera över Wagner, Verdi och Richard Strauss till moderna verk, där hon uruppförde en rad krävande roller. Hennes röst var en mörkt färgad mezzosopran som kunde expandera både lyriskt och dramatiskt. Efter debuten som 24-åring på Kungliga Operan som Azucena i Trubaduren 1952 (alltså som mor till den 48-årige hjältetenorenSet Svanholm!) sågs hon uppenbarligen som en ny altsångerska. Jordgudinnan Erda i Nibelungens ring blev hennes nästa större uppgift. Men om mezzosopranen Meyer på höjdpunkten av sin karriär kunde ha svårigheter med vissa höjdtoner som Eboli i Don Carlos kastade hon många år senare höga C omkring sig som Adalgisa i Norma. Meyer började tidigt. Född 1928 kom hon in på Musikaliska Akademins konservatorium som nittonåring och därefter Operaskolan. Bland hennes första lärare fanns Arne Sunnegårdh och den legendariska ryska koloratursopranen Andrejeva von Skilondz. Under sin internationella karriär studerade hon vidare för Pola Novikova och Vera Rosza. Redan i september 1951 stod hon på scenen i oktetten av valkyrior vid Operans gästspel medValkyrian i Köpenhamn och i december samma år sjöng hon altpartiet Messiasi vid Operans traditionella uppförande av Händels oratorium i Storkyrkan. Efter sina debuter studerade hon vidare i Italien. Tillbaka på Operan gjorde hon 1953 den kvinnliga titelrollen i Simson och Delila och fick 1954 sitt definitiva genombrott med titelrollen iCarmen i en ny, oerhört uppmärksammad uppsättning av Göran Gentele.
    [Show full text]
  • 2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House,
    [Show full text]
  • A Christmas Story
    A CHRISTMAS STORY A Play in Two Acts by PHILIP GRECIAN Based upon the motion picture A Christmas Story ©1983 Turner Entertainment Co., Distributed by Warner Bros. Written by JEAN SHEPHERD, LEIGH BROWN and BOB CLARK and In God We Trust, All Others Pay Cash by JEAN SHEPHERD Dramatic Publishing Woodstock. Illinois· England. Australia· New Zealand © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY without whose permission in writing no performance of it may be given. Royalty fees are given in our current catalog and are subject to change without notice. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: DRAMATIC PUBLISHING P. O. Box 129, Woodstock, Illinois 60098 COPYRlGHT LAW GIVES THE AUTHOR OR THE AUTHOR'S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work. Conscientious observance of copyright law is not only ethical, it encourages authors to continue their creative work. This work is fully prolected by copyright No alterations, dele­ tions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, video­ tape, fll.m, or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • ANTON WEBERN Vol
    WEBERN Vocal and Chamber Works Songs • String Quartet • Schoenberg/Webern Op. 9 • Cantata No. 1 Tony Arnold • Claire Booth • Jacob Greenberg • Orion Weiss Sooyun Kim • Charles Neidich • Leila Josefowicz • Simon Joly Chorale Fred Sherry String Quartet • Philharmonia Orchestra Robert Craft THE ROBERT CRAFT COLLECTION Four Songs for Voice and Piano, Op. 12 (1915-17) 5:28 THE MUSIC OF ANTON WEBERN Vol. 3 & I. Der Tag ist vergangen (Day is gone) Text: Folk-song 1:32 Recordings supervised by Robert Craft * II. Die Geheimnisvolle Flöte (The Mysterious Flute) Text by Li T’ai-Po (c.700-762), from Hans Bethge’s ‘Chinese Flute’ 1:32 Five Songs from Der siebente Ring (The Seventh Ring), Op. 3 (1908-09) 5:35 ( III. Schien mir’s, als ich sah die Sonne (It seemed to me, as I saw the sun) Texts by Stefan George (1868-1933) Text from ‘Ghost Sonata’ by August Strindberg (1849-1912) 1:32 1 I. Dies ist ein Lied für dich allein (This is a song for you alone) 1:19 ) IV. Gleich und gleich (Like and Like) 2 II. Im Windesweben (In the weaving of the wind) 0:36 Text by Johann Wolfgang von Goethe (1749-1832) 0:52 3 III. An Bachesranft (On the brook’s edge) 1:00 Tony Arnold, Soprano • Jacob Greenberg, Piano 4 IV. Im Morgentaun (In the morning dew) 1:04 5 V. Kahl reckt der Baum (Bare stretches the tree) 1:36 Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Producer: Philip Traugott • Engineer: Tim Martyn • Editor: Jacob Greenberg • Assistant engineer: Brian Losch Tony Arnold, Soprano • Jacob Greenberg, Piano Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Three Songs from Viae inviae, Op.
    [Show full text]
  • Emily Dickinson in Song
    1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others.
    [Show full text]
  • Blind Boy to Be Special Guest at Jean Shepherdprograjn
    'TIL 9 Second C5<es Postate Paid TEN CENTS,- R&DAY, APRIL 13, 1967, t^S, Kew Jemy 07016 3 Sections, 20 Pages Gutting Session Limited MncetaPerimt In Response io Public Demand epai?titient t o Blares Summer Because of public demand^the Upper and Lower Summer Schools will', be conducted this year.by township will conduct a Jj-Ufnited" the Cranford public school system, it was announced yesterday by Dr. spring clean up of. gja-rBeri refuse Clark W. McDermith, superintendent of schools. ; ' Township Action Establishesover the next threj^ef four weeks. Mayor Edwardj^f'Gill announced 'The Board of Education-voted informally „last Thursday evening Under terms of tUthe Upper and Lower Summer Tuesday ijigmT The mayor pnev-i- v at a workshop "meeting to continue"^-"- ~ ""•«"• 'anH -T.nwor S Schools with-the same- programs Tax Foreclosure Precedent bfrti announced that-^lhe nance introduced and.passed as last yearear. ThThee board was con- New law in tax foreclosure and refpreclosure cas.es was made sg jclcanup had been^biTndoned on first reading-Tuesday night sidering,. discontinuindiscontinuig . the sum-recently when the Appellate Division of the Superior Court affirme ' is year as an economy measure. Permanent Pumpingrjstauonby Township' Committee, ap- 768 't•thh e judgment "oof the Chancery Division in sustaining the action of-i£ff He said the cleanup will be con- Flan Meeting mer school to reduce the 1967-68 e ducted by public works depart- pointees 'to the police depart;/" school budget,"as required by thetownship in refusing^fc'rmij: Community Investment .Civ t<v* ideem ment trucks "as timje permits." Planned for Normf0ie Park ment would not hereafter;-be $73,300 cut made by the Township Of Retailers .two: Vacant and unimproved lots in The Ifltswere in- The mayor stressed, that only /*._,.
    [Show full text]
  • Pressive Mark on the Small Screen, Starring in Such
    METRO-GOLDWYN-MAYER Presents A BOB CLARK Film CHARLES GRODIN KIERAN CULKIN and MARY STEENBURGEN IT RUNS IN THE FAMILY CHRISTIAN CULKIN ALMANCINI TROY EVANS ROY BROCKSMITH GLENN SHADIX DICK O'NEILL WAYNE GRACE TEDDEMOORE WHIT HERTFORD GEOFFREY WIGDOR DAVID ZAHORSKY DARWYNSWALVE FRANK COLLISON MARILYN PITZER ROBERT DICKMAN IDA LEE WILLIAM PRESTON JOHN VOLDSTAD SCOTT THOMSON and JEAN SHEPHERD as "Ralph as an Adult" Casting by Associate Producer MARCILffiOFF GARYGOCH Music Composed by Costume Designer PAULZAZA BETTY PECHA MADDEN Editor Production Designer STAN COLE HARRY POITLE Director of Photography Executive Producer STEPHEN M. KATZ JEAN SHEPHERD Based on the novels "In God We Trust, All Others Pay Cash" and "Wanda Hickey's Night of Golden Memories and Other Disasters" by JEAN SHEPHERD Screenplay by JEAN SHEPHERD & LEIGH BROWN and BOB CLARK Pro,duced by RENE DUPONT Directed by BOB CLARK THE CAST The Old Man .............................................................. CHARLES GRODIN Ralphie . KIERAN CULKIN Mom ................................................................... MARY STEENBURGEN Randy Parker ............................................................ CHRISTIAN CULKIN Zudoc ............................................................................... AL MANCINI Gertz ................. ............................................................. TROY EVANS Assessor ............. ..................................... ................. ROY BROCKSMITH Leopold Doppler ............................................................
    [Show full text]
  • A Christmas Story Study Guide
    STUDY GUIDE SHOW SYNOPSIS A CHRISTMAS STORY, The Musical is the Broadway musical comedy gift you will cherish all holiday long! In 1940's Indiana, a bespectacled boy named Ralphie has a big imagination and one wish for Christmas—a Red Ryder BB Gun. A kooky leg lamp, outrageous pink bunny pajamas, a cranky department store Santa and a triple-dog-dare to lick a freezing flagpole are just a few of the obstacles that stand between Ralphie and his Christmas dream. Based on the classic 1983 movie, A CHRISTMAS STORY, The Musical captures holiday wonder with funny and heartfelt songs, show stopping dancing, delicious wit and a heart of gold. After two triumphant sold-out seasons on Broadway this hilarious musical makes its Philadelphia debut! DISCUSSION QUESTIONS BEFORE THE SHOW AFTER THE SHOW Has anyone ever been to a live play before? How was Did you enjoy this performance? What was your it different from television or a movie? favorite part? What is the difference between a play and a musical? Who was your favorite character? Why? How was the experience seeing A Christmas Story, Have you ever seen the movie A Christmas Story? the Musical live different from watching the Have you ever wanted something as a gift more than movie A Christmas Story? anything in the whole world? What was it and why Identify some similarities you noticed between did you want it? Did you ever end up getting it? And the musical and the movie. Identify some was it as great as you had imagined? differences.
    [Show full text]
  • March 2021 Bankruptcy
    The Society Page In 1961 Bruce performed some risqué jokes SAN FRANCISCO at a nightclub in San Francisco’s North By Gene Mahoney Beach and was arrested on obscenity charges. He was later acquitted. However, Russian Hill Upholstery & Décor is still his arrests in Chicago and New York on located in Nob Hill, not Russian Hill. similar charges resulted in convictions. San HERALD Francisco became the only city he could XXXXXXXXXX perform in, and his legal bills caused A national minimum wage of $15 per hour March 2021 bankruptcy. According to Paul Krassner, in the U.S. was being pushed by Vermont publisher of esteemed alternative senator Bernie Sanders, which is ironic, SanFranciscoHerald.Net periodical The Realist, Bruce went to the because he never had a steady job until he F.B.I. office in San Francisco and asked became mayor of Burlington at age 39. “Serving Nob Hill & Beyond” them to look into a conspiracy by various police departments to investigate him. Krassner claims a New York cop admitted Many media reports have had a feel-good ___________________________ vibe about them, where workers make this to be true. Lenny Bruce died of a more money and the story ends there. No XXXXXXXXXX heroin overdose in 1966 at age 40. mention is made of employers firing workers because they can’t afford to pay Nob Hill Masonic Auditorium: Dead Can A decade before the Lenny Bruce phase, in all their employees $15 per hour. Dance & Agnes Obel, 5/5. The Go-Go’s, 6/18. 1976 and 1977, when I was 11 and 12, I Alicia Keys, 9/3 & 4.
    [Show full text]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]